Review: Classic Italo one-hit mystery, Tony More (or Tony Moore as he's often credited) gave the world this lavish futurist Marzio Benelli-written pop odyssey in 1985 before promptly disappearing. With original pressings fetching over L200, Dark Entries have democratised it for all to enjoy. And there's plenty to enjoy... A restrained by hooky riff, sparse but delicate and vulnerable vocals and a chugging synth groove that cuts with a heavy cinematic feel that's succinctly of its time. Complete with an instrumental for full mix creativity.

Review: Jongno Edits are back with their fourth release and they got two tracks of pure Korean groove, by editing wizard Mori Ra. Side A is "Heavenly Me" (edit) which is a boogie banger that embraces all the elements of the top tunes of that era: strong drum beat, slappy bass synth and a violin break down. On the flip, there's "No One Knows" (edit) which is your perfect sunset balearic cut for this summer. The lush bell melodies perfectly match the suave voices so prepare your ascension to the clouds accompanied by delayed organs and acoustic guitar 'where Jeju becomes Ibiza'.

Review: Discodromo's playfully titled CockRing d'Amore edit series hits its fourth chapter with three hypnotic, transcendental edits from respected Osaka groove sculptor and selector Mori Ra. Three unnamed tracks, the focus should be strictly on the soul at play... The sweeping cinematica and narrative of "Track 1", the glistening cascades and layered vibraphone elements of "Track 2" and the lolloping, Nordic-feeling chugger finale. Chimes, electric bass and distant fiddles a-go-go, it's another singular trip from both Mori and a highly limited dispatch from CockTail d'Amore.

Review: Osaka's champion selector and groove doyen Mori Ra makes his PTP debut with four lavish helpings of synth-splashed disco. Side A sees him teaming up with fellow Macadam Mambo mate ASN with two almost Norwegian-sounding lessons in cosmic synth funk as "California Real" is straight up boogie and "Actual Flash" fuses far-away strings and close-up synth squiggles. Meanwhile side B sees Mori go solo with two more slightly esoteric cuts: "Mermaid" is duffle-coated drama where the operatics and soothing harmonies are under the pressure of sub aquatic textures and "Synchroid Eye" takes us right down into dreamland with its swooning strings and faraway vocal cries. Bliss.

Review: Clandestino head Joe Morris is next up on Wonder Stories, imparting the kind of sun-kissed discoid meditation the label and its listeners lap up. Morris is sounding confident and cool on "Cloud Nine," using vintage drum machine patterns and fuzzy synth lines to impart a sweet-natured groove that reaches skywards. Contrasting the blissed out original, Max Essa brings a little more bite to the table with his shimmering electro-disco version, while Coyote preaches his Balearic vision on the B1 remix. Label boss Aimes keeps things smooth and steady with a deep house version of "Cloud Nine" for all dancefloor dreamers to get lost in.

Review: Given that this is Moscoman's first solo single on the Disco Halal imprint he inaugurated in 2015, it's perhaps unsurprising that he's saved something rather special for the occasion. "I Ran" is a throbbing, high-octane peak-time treat, where haunting Arabic vocals seemingly float over a thrusting, arpeggio-driven groove and bubbly, off-kilter machine drums. It's druggy and intoxicating, of course, but also fiendishly heavy and pleasingly unorthodox. On the flipside, old pals Simple Symmetry re-imagine "I Ran" as a sticky and trippy chunk of organic Arabic dub disco, complete with toasty bass and razor-sharp electric guitars. It's not quite as thrilling as Moscoman's original version, but it's a close run thing.

Review: As Diesel and Jarvis edge ever closer to the 50 mark with their excellent Moton series of edits, it appears the well of source material is no closer to drying up. No 37 commences in fine fashion with "Dreeme" a dubbed out rendition of "Elle Et Moi", the late 80s Gallic pop gem from Max "brother of Cerrone" Berlin with the vocals dropped in favour of boosting that wondrous piano lead. On the flip "She & Him" nudges the tempo up some and lands you in weirdo proto house Balearic territory with all manner of strange phasing going on (in addition to the odd "Hello"). Finally Moton friend Sean Innit flexes his edit skills with the cosmic space boogie vibes of "Step".

Review: London's Moton have spent the last 20 years moving aimlessly and idly without fixed direction through their music collection to bring you great edits and are still going strong. They return with two huge edits by gospel/soul music authoritarian Greg Belson and veteran edit crew/Situation member Paulo Fulci. Now as 'Divine Situation', Belson & Fulci are returning to the underground sound with a slew of edits, starting with these back to back club-tested heavy hitters. Exquisite woodwind and brass sections, silky strings and classic disco vocals all wrapped up into classic cuts, already road tested to perfection by the duo.

Review: Not all re-edit series' are created equal. The Moton Records Inc, series - one of the longest running in the world, these days - has consistently delivered high-grade re-rubs free of tame studio trickery. Predictably, there's more brilliance to be found throughout the hush-hush label's latest three-track missive, which is the work of London scene stalwart Dave Jarvis and fellow Love Vinyl shop-worker Jake Holloway. A-side "Morning Shunt", a brilliant rearrangement of a little-known Afro-disco cut that comes on like Fela Kuti covering "Don't Leave Me This Way", is the clear standout, though B-side jams "Jacques Theme" - a sort of William Onyeabor goes to Cuba throw-down - and "The Bandit" (Balearic brilliance with funk style drum breaks) are also excellent.

Review: Legendary German DJ/producer David "Move D" Moufang first appeared on Electric Minds back in 2013. "To The Disco '77" was an undoubted highlight of that 12" and here gets the remix treatment from the man himself. His "Live Rework" is a wonderfully loose and lucid affair, with quietly jazzy guitars, New Jersey garage organs and headline-grabbing vocal samples wrapping themselves around foreboding, low-end chords and nifty, on the fly drum machine programming. On the flip, Moufang joins forces with Mister Saturday Night man Justin Carter for "Leaves (Basement Demo)", a wonderfully deep, rich and spacey house cut that recalls the long-serving German producer's intelligent techno era output (albeit with the added warmth of head-in-the-clouds deep house).

Review: Having previously excelled at crafting party-starting bootleg funk remixes and composing revivalist soul slammers, Mr Bird has now decided to turn his attention to Afro-disco, Afro-funk and Afro-soul. Typically, the results are impressive, particularly "Dance Away", a hybrid Afro-disco/Afro-soul workout featuring the fine vocals of Chief Commander Yaaba. Elsewhere, he lays down a subtly housed-up take on Clavinet-happy Afro-funk (the superb, jazz-funk tinged "Floating Funk"), brilliantly breaks up the beats on the woozy, groovy and bustling "Carnival Beat", and lays blissful vocal harmonies over a sumptuous deep house beat on "The Sasquatch".

Review: Supreme edits from the one and only Mr K: "Boogie Land" explores the insane P-Funk gold of Ike Strong with full emphasis on the obese walking bassline, gutsy backing vocals and layered riffs, all extended with hypnotic glory. "Lady, Lady, Lady" is a dramatic rearrangement of the instrumental version of Boogie Man Orchestra where the pianos and strings are placed centre stage and squeezed for every ounce of drama and disco theatre. Insanely good.

Review: Two powerful edits from the Krivit vaults: "Live In Me" is a beautiful rearrangement of the Rod Temperton and Quincy Jones composed Rufus & Chakka Khan 1979 classic. Warm, touching with just the right amount of urgency, it's often overlooked as didn't enjoy a single release at the time. Flip for an equally stirring take on Pieces Of A Dream's "Warm Weather" and Danny ensures our full focus is firmed on that lavish bass and those purring honeyed vocals. Quintessential rare groove.

Review: More hot-to-trot edits from Most Excellent Unltd's 7" series. As usual, legendary New York scalpel fiend Danny Krivit is at the controls (under the now familiar Mr K alias, of course). A-side cut "1 2 3" boasts Krivit's edit of an obscure, unreleased acetate mix by Walter Gibbons of a jaunty funk number rich in military style drum fills, mazy electric organ solos and bold bass guitar riffs. Over on the flip you'll find "My Sweet Summer Suite", a drum-heavy workout that seems to be built out of elements of a number of low-slung disco and funk tunes. The clipped, loopy groove - as previously used on a number of Krivit's other edits - is loaded with lots of extra percussion and some trippy, Amazonian flute motifs.

Review: With Norwegian eccentrics Mungolian Jetset and Ost & Kjex involved, you'd expect "Until You're Worth It" - Belgian duo Mugwump's latest genre-swerving offering - to be a little on the quirky side. As expected, it is, though it's a far more polished, tactile and organic sounding cut than you may be expecting. Sparse, low-slung, warm and dubby, it features the Norwegian contingent singing over a wide-eyed, dubbed-out Balearic pop groove. It's great, as is Mark E's bubbling, heavily electronic remake. Best of all, though, is Andrew Weatherall's revision, which recasts the original as a heavyweight chunk of pitched-down, punk-funk influenced dub disco.

Review: Idris Muhammad was known more as an American jazz drummer who recorded extensively with many musicians, including Ahmad Jamal, Lou Donaldson, Pharoah Sanders and Tete Montoliu - but released the irresistible and life affirming dico jam "Boogie To The Top" back in 1978. Young Pulse steps up on the B-side, adding his own subtle touches and tweaks to the original by looping the guitar and echoing out the vocals, whilst working in more of the synth lines. He keeps the original feel intact, whilst revitalising it for 2018.

Review: There's no doubting that Idris Muhammad's "Could Heaven Ever Be Like This" is a stone-cold classic; a sparkling, heavenly chunk of dreamy, disco-era jazz-funk that's capable of reducing grown men and women to tears when played at the right time. Some could argue that it's so good that it shouldn't be tampered with. Late Nite Tuff Guy, a producer who previous for reworking classic cuts, clearly disagrees, because he's delivered a fresh 2018 revision. His version is actually rather reverential, subtly beefing up the bottom end to provide a little more a rolling disco feel while adding some easy-to-mix beats at the beginning. Otherwise, he's made use of all the key original instrumentation and should be applauded for his tasteful efforts.

Review: This tasty 7" from the reliable Mukatsuku label sees 2 killer funk treats for the dancefloor. On the A-side there's a handy and exclusive re-edit of Bahamian combo Biosis Now's ludicrously rare "Independent Bahamas", a righteous call for self-governance backed with a wonderfully fuzzy and full-throttle tropical funk groove. A copy recently for $700 on ebay for the very first time of the original 45. On the flipside we find "Tumba Safari" taken from the recent Oriki compilation, a suitably heavy chunk of Ivory Coast afro-funk from long forgotten outfit Afro Train. Weston's version naturally emphasizes the drum breaks, heavy horns and razor-sharp guitars, in the process tightening it up for contemporary club play.As played by Hunee,Red Greg ,DJ Logic and Nicola Conte

Review: Repress of the sought after Mukatsuku Records 12 containing two remastered tracks of Atlanta musician Ojeda Penn presented here according to Ojeda officially for the very first time.The A side kicks off with the extended holy grail instrumental version of 'Brotherson' taken from the Happiness album. There were two versions of the album Happiness in 1980 on the IFE independent label. They looked almost identical but the first version contained the now rarer elongated 9 & half minute jazz fused instrumental version of 'Brotherson' and then a few months later Penn recut the same album but with a much shorter version of the main track but this time adding strings and vocals assisted by Tommy Stewart from 'Bump N Hustle Music' fame. The former version is now being sold up to 500 dollors so this 180 gram single is a welcome release to the reissue market. Juno copies come in an exclusive branded card sleeve + sticker

Review: If her social media posts are anything to go by, Roisin Murphy is more than a little frustrated. She's particularly irritated by the lack of media coverage for her new series of singles on Vinyl Factory, all of which were produced by the mighty Maurice Fulton. Listening to this second volume in the series, it seems remarkable that more hasn't been written about the series. "Play Thing", in particular, is a triumph - a jaunty, inventive and next-level chunk of Clavinet and piano-sporting dancefloor disco-pop that sounds as good blaring out of car stereos as it does beefy club sound systems. Flipside "Like", a slower and more trippy affair built around the kind of wonky synthesizer bass line normally found on one of Fulton's Syclops records, is similarly special.

Review: Someone put the mute on the info button here because nothing is known about the source or editor at all here. But the music's more than strong enough to do the talking. Balearic soul and international disco through and through, track one rattles with a little Afrofunk energy, track two has more of a Latin sunset feel while the final track is a swooning, mooning sweep into crazy town with some strong psychedelic textures. Spacy, singular and special: You won't want to mute these for a long time.

Review: Bim! The mysterious Mutable edits are back with the imprint's second release to date! "Track 1" is a majestic house-disco hybrid that's swung into action by the awesomeness of the steel drums panting down below, while "Track 2" uses the organ as its main weapon. On the B-side, "Track 3" provides a comforting wave of 303 acid, still at a mild-mannered tempo, and "Track 4" goes for the longer, more evocative disco swing that encapsulated so much of the 90s. Lush grooves!

Review: Myd made his name a few years back by delivering a string of dancefloor hits that joined the dots between African rhythms, techno, electro and humid tropical instrumentation. All Inclusive, which appears on luscious transparent blue vinyl, is not only his first single for Ed Banger, but also a far more hazy, sun-kissed and pop-centric affair. In essence, the three original tracks - "The Sun", "Bingo" and "All Inclusive" - are breezy and louche affairs, mixing the producer's own drowsy vocals and gentle rhythms, tropical guitars and loved-up electronics. More club-ready reworks can be found on the flip, where Cassius stick a gargantuan bassline and UK steppers-inspired house drums beneath "Bingo" and Canblaster re-cast "All Inclusive" as a bouncy tropical house anthem.

Review: NYC-based Japanese groove guru Takuya returns with two alluring, highly cosmic funkers and a whole stash of dope remixes. "Spacetak" lives up to its name in every possible way. Big juicy synths that flap and fold over a nicely slouched groove; this will aid and abet many people looking to lose their minds this summer. "Sun" is also fittingly titled thanks to its premium vibrancy and latent feels (not to mention a wry bit of slap bass) Remix-wise Tronik Youth get all dubbed out on "Spacetak" while Jonny Sender whips us back to early 2000s City Rockers vibes with some superb use of the trumpet elements. Talk time is over.

Review: Edinburgh's Ghetto Disco Records are back with their second release, a label run by Natasha Kitty Katt and her father. When two creative minds join and bring a modern take on disco, this is the result. Kitty Katt & Twisted Soul Collective 'have aligned forces to bring you an array of ideas, thoughts, sounds and feelings.' Definitely for the disco dancers, you can visualise grooving to this number under a mirror ball. "Twisted Katt" on the A side brings the funk, complete with liquid bassline and breakbeats (hear the drummer get wicked) assisted by a tough four the floor beat for dancefloor dynamics. On the flip is "Cosmic Bitch" with its Salsoul Orchestra style strings section looped up to perfection, over another reliable house rhythm and some nice filter sweeps.

Review: Given the runaway success of the recent reissue of DJ Nature's 1993 gem Necessary Ruffness Volume 1 - an early outing under the alternative Nature Boy alias that has long been regarded as a British deep house classic - it was inevitable that Volume Two would quickly follow. Like its predecessor, the EP is something of a cut-and-paste deep house treat, with the former Wild Bunch member wrapping vocal samples from classic disco, boogie and jazz-funk tunes around chunky, bass-heavy grooves. We're particularly enjoying the rolling late night pressure of "On Your Side", with its relentless bassline and fluttering Mystic Merlin samples, and the Dream II Science smoothness of "Relax Man", though the more disco-fired bounce of "Whatchusay (dubwize)" may well be the premier peak-time treat.

Review: Brooklyn-based Razor 'N' Tape has some serious pulling-power these days. Having already released material from Dirtytwo, Mr V, Loz Goddard, Kraak & Smaak and Fouk, the New York imprint has managed to score an EP from Mister Saturday Night regular Nebraska. Predictably, it's a party-starting affair from start to finish. Bouncy, horn-heavy disco-house A-side "Drill Deep" - a weighty chunk of unashamed peak-time goodness - leads the way, with beatdown-tempo shuffler "Keep On Keeping On" snapping at its heels. This bubbles along tenderly via swirling disco orchestration, before bursting into life midway through thanks to the introduction of a sublime female vocal. "Instant Pressure", a chunkier, dub-flecked fusion of dewy-eyed soul and low-slung acid bass, is also superb.

Review: Nebraska fires up his own Friends & Relations label once again to take a trip into the strain of lilting, summery deep house that has previously fitted in so well on Rush Hour, Mister Saturday Night and more. This time around Nebraska is getting the remix treatment from an all star cast, leading in with the woozy, soul-soaked shuffle of Session Victim's treatment of "Pintxos." Mr Beatnick keeps things suitably deep when tackling "Rat Boogie," all laid back disco patter and filtered funk, before Marcel Vogel goes one step further on "Keep What Ya Got" and rolls out slow and juicy funk of the raunchiest kind.

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